There is no dialogue or character development. The songs, considered in order, tell a skeletal story similar to that of the opera Aufstieg und Fall der Stadt Mahagonny. As renowned Weill scholar David Drew writes, “The fleshpots of Mahagonny attract many visitors, but prove disappointing and expensive; God orders the inhabitants to hell, but they revolt, claiming they are there already” (Kurt Weill: A Handbook (U. of California Press, 1987), p. 171).